Religious Baroque Specifics
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78 Terms
avoidance of harmonic tritones
overlapping entries
PSR dissonances
Syncopation
Monteverdi Vespers
1st sops enter with cantus firmus
‘Sancta Maria Ora Pro Nobis’ b.36
Gabrieli In Ecclesiis date
1608
Gabrieli In Ecclesiis
change to triple time because of holy trinity
b.11
Gabrieli In Ecclesiis
Bb chord (bold)
b.104
Gabrieli In Ecclesiis
F to D chord change (false relation)
b.174-175
Gabrieli In Ecclesiis
metre change and syncopation
‘vivifica nos’ b.157
reuses music from…
freer treatment of dissonance
word painting
new monodic style
polyphonic
chords reflect words
cantus firmus
oboe d’amore obbligato
Schütz studied with…
Gabrieli and Monteverdi
powerful dissonances
repeats words at times of tension
Schütz St Matthew Passion
two tenors playing false witness
‘er hat gesagt’, they sing in canon a maj2 apart, tenor 1 begins a tone higher than tenor 2 but switches to a tone lower half way through
Bach St Matthew Passion
No.1
‘Kommt, ihr Tochter’
children sing a chorale melody in G major
Bach St Matthew Passion
No.33
‘So ist mein Jesus nun gefangen’
Palindromic tonal structure (Bm, Em, A, D, G, D, Am, Em, Bm)
two choruses split antiphonally at b.86 G section
Bach St Matthew Passion
No.47
‘Erbarme Dich’
descending basso continuo throughout aria reflect tears
Bach St Matthew Passion
No.72
‘Wenn ich einmal soll scheiden’
chorale is reharmonised to phrygian with more chromaticism, sung immediately after Christ’s death
Purcell ‘My Heart Is Inditing’
date
1685
Purcell ‘My Heart Is Inditing’
anthem type
verse anthem
Purcell ‘My Heart Is Inditing’
tonality
mixture of older mixolydian and new C major
Purcell ‘My Heart Is Inditing’
serious meaning of words
‘Hearken, O Daughter’ Queen should forget her family and think only of her duties to the King, shown in use of minor keys, chromaticism (b.319-320) and false relations
Purcell ‘Hear My Prayer, O Lord’
date
1682
Purcell ‘Hear My Prayer, O Lord’
interval motif
minor 3rd on ‘O Lord’
Purcell ‘Hear My Prayer, O Lord’
anthem type
full anthem
Purcell ‘O Sing Unto The Lord’
date
1688
Purcell ‘O Sing Unto The Lord’
anthem type
verse anthem
How does Purcell’s ‘O Sing Unto The Lord’ show triumph and certainty?
strings are homophonic at beginning, bass soloist starts solo with fourth intervals
Purcell ‘My Heart Is Inditing’
instrumentation
2 choirs, 8 soloists, strings and organ
Why was Purcell’s ‘My Heart Is Inditing’ composed?
to celebrate the coronation of James II
Purcell ‘My Heart Is Inditing’
cadence that had fallen out of fashion in early 17th century
English cadence b.98
Purcell ‘My Heart Is Inditing’
word painting
‘At His Right Hand’
‘glorious’ often in pairs and 3rds and 6ths (b.119)
‘wrought gold’ is melismatic (b.126)
Locke ‘Lord, let me know mine end’
anthem type
verse anthem
Locke ‘Lord, let me know mine end’
male solos
b.84 tenor
Locke ‘Lord, let me know mine end’
word painting
b.95 emphasis on ‘fretting’ from tied notes causing suspensions
b.75 melismatic ‘hope’
Lully ‘Domine salvum fac Regem’
date
1660-1680s
Lully ‘Domine salvum fac Regem’
instrumentation
three high voices and continuo
Lully ‘Domine salvum fac Regem’
when was it performed?
whenever Louis XIV attended mass at Versailles
Lully ‘Domine salvum fac Regem’
motet type
petit motet (less than 2 minutes)
Lully ‘Domine salvum fac Regem’
description
simple but melodic, syllabic setting, dotted rhythms
Rameau “Quam dilecta tabernacula”
date
1713
Rameau “Quam dilecta tabernacula”
motet type
grand motet
Rameau “Quam dilecta tabernacula”
grand motet features
starts with solo voice, multi-sectional (influence of Rameau’s opera writing), mix of lyrical sections and complex counterpoint
Rameau “Quam dilecta tabernacula”
instrumentation
SSATBB, 2 flutes, string ensemble, continuo
Handel’s Messiah
date
1742
Handel’s Messiah
orchestra
Oboes, bassoons, two trumpets, timpani, strings, continuo
Handel’s Messiah No.3
word painting
‘Ev’ry Valley’ b.25 ‘low’ sung to a low note
Handel’s Messiah No.1
in the style of a french overture, slow section with dotted rhythms followed by a faster fugal section. dominant pedals at separate points in both G major and E minor creates tension
Handel’s Messiah
secco recitative
‘Behold, a virgin shall conceive’ alto, sung with free rhythm dictated by accents of the words, accompaniment is simple and chordal, melody shows speech by using few pitches
Handel’s Messiah No.23
solemn mood
‘He was despised’, falling melody (‘a man of sorrows’ b.22-23), awkward intervals (1st violins b.22), dramatic silence b.66
Handel’s Messiah No.25
‘And with his stripes’ 1st subject features agonised dim 7th leap of ‘his stripes’ which makes it easily identifiable to the listener
Handel’s Messiah No.48
‘The Trumpet Shall Sound’ obbligato trumpet with space left to hear soloist (contrasts Bach Erbarme Dich continuous obbligato)
Carissimi ‘Jephte’
date
1645
Carissimi ‘Jephte’
instrumentation
Six voices and continuo, soloists and chorus SSSATB
Carissimi ‘Jephte’
monody example
alto opening ‘cum vocasset in proelium’
Carissimi ‘Jephte’
word painting
‘Fugite, fugite, cedite, cedite impii’ fleeing shown through fast-rising scale
Carissimi ‘Jephte’
harmony reflects mood
‘Heu, heu mihi filia mea, hui!’ features chromaticism and dissonance to reflect Jephte’s lament
what was great about verse anthems?
they suited the smaller acoustics of court chapels like Chapel Royal, Hampton Court Palace
what was St Mark’s Basillica famous for? also another two facts
cori spezzati, composers travelled all over Europe to hear music there, introduced instruments, especially wind, into church music
how was St Peter’s different to St Mark’s?
very few instruments used, mainly prima prattica, influenced by music of Palestrina
prima prattica
Polyphonic, controlled dissonance only, modal effects, avoids lavish ornamentation, acapella, music dominates the text
seconda prattica (main ones)
text dominates music, bolder use of harmony, word painting, dotted rhythms, syncopation, more elaborate writing for solo voices
Louis XIV power
wanted to undermine influence of Italian music, expanding French political and economic supremacy into the arts
France saw ___
dance as the epitome of aristocratic art
Rameau was ___
one of the first French musicians to become famous all across Europe
Note 
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